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The delightfully deadpan heroine at the heart of “Silvia Prieto,” Argentine director Martín Rejtman’s adaptation of his have novel of the same name, could be compared to Amélie on Xanax. Her day-to-working day life is filled with chance interactions along with a fascination with strangers, though, at 27, she’s more concerned with trying to vary her possess circumstances than with facilitating random acts of kindness for others.
But no single element of this movie can account for why it congeals into something more than a cute thought done well. There’s a rare alchemy at work here, a certain magic that sparks when Stephen Warbeck’s rollicking score falls like pillow feathers over the sight of a goateed Ben Affleck stage-fighting within the World (“Gentlemen upstage, ladies downstage…”), or when Colin Firth essentially soils himself over Queen Judi Dench, or when Viola declares that she’s discovered “a fresh world” just some short days before she’s forced to depart for another 1.
The movie begins with a handwritten letter from the family’s neighbors to social services, and goes on to chart the aftermath on the girls — who walk with limps and have barely learned to talk — being permitted to wander the streets and meet other little ones for that first time.
Composed with an intoxicating candor for sorrow and humor, from the moment it begins to its heart-rending resolution, “All About My Mother” is definitely the movie that cemented its director as an international power, and it remains one of many most impacting things he’s ever made. —CA
Produced in 1994, but taking place on the eve of Y2K, the film – set in an apocalyptic Los Angeles – is actually a clear commentary to the police assault of Rodney King, and a mirrored image over the days when the grainy tape played on a loop for white and Black audiences alike. The friction in “Bizarre Days,” however, partly stems from Mace hoping that her white friend, Lenny, will make the right decision, only to find out him continually fail by trying to save his troubled, white ex-girlfriend Faith (Juliette Lewis).
Gauzy pastel hues, flowery designs and lots of gossamer blond hair — these are a few of the images that linger after you emerge from the trance cast by “The pinay porn Virgin Suicides,” Sofia Coppola’s snapshot of 5 sisters in parochial suburbia.
Iris (Kati Outinen) works a dead-finish position in a match factory and lives with her parents — a drab existence that she tries to escape by reading romance novels and slipping out to her community nightclub. When a man she meets there impregnates her and then tosses her aside, Iris decides to receive anime sex her revenge on him… as well as everyone who’s ever wronged her. The film is practically wordless, its characters so miserable and withdrawn that they’re barely in a position to string together an uninspiring phrase.
Critics praise the movie’s raw and honest depiction with the AIDS crisis, citing it as one of many first films to give a candid take on The problem.
Jane Campion doesn’t place much stock in labels — seemingly preferring to adhere into the aged Groucho Marx chestnut, “I don’t want to belong to any club that will settle for people like me being a member” — and it has expended her career pursuing work that speaks to her sensibilities. Check with Campion for her possess views of feminism, so you’re likely to get an answer like the 1 she gave fellow filmmaker Katherine Dieckmann in a very chat for Interview Journal back in 1992, when she was still working on “The Piano” (then known as “The Piano Lesson”): “I don’t belong to any clubs, and I dislike club mentality of any kind, even feminism—although I do relate to the purpose and point of feminism.”
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Gus Van Sant’s gloriously unhappy road movie borrows from the worlds of author John Rechy and even the director’s personal “Mala Noche” in sketching the humanity behind trick-turning, closeted street hustlers who share an ineffable spark within the darkness. The film underscored the already evident talents of its two leads, River Phoenix and Keanu Reeves, while also giving us all many a purpose to swoon over their indie heartthrob status.
The concept of Forest Whitaker playing a contemporary samurai hitman who communicates only by homing pigeon is actually a fundamentally delightful prospect, 1 made every one of the more satisfying by “Ghost Puppy” author-director Jim Jarmusch’s utter reverence for his title character, and Whitaker’s commitment to playing The brand new Jersey mafia assassin with the many pain and gravitas of someone for the center of the historical Greek tragedy.
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Hayao Miyazaki’s environmental anxiety has been on full display since before Studio Ghibli was even born (1984’s “Nausicaä on the Valley of your Wind” predated the animation powerhouse, even because it planted the seeds for Ghibli’s future), but it really wasn’t until “Princess Mononoke” that he specifically asked the question that percolates beneath all of his work: How will you live with dignity in an irredeemably cursed world?